Recent Reading

Music Database

So-so week, rated count actually a good deal more than I expected, given
all the distractions. Since I went to weekly review dumps, I guess that
means that the last Monday of the month is the closing date for the archive
Streamnotes (February 2019) --
posted at the same time as this Music Week.
February's record total of 123 (91 new) is quite a bit less than
January's 201 (153 new).

Still listening more to 2018 than 2019 records (15-4 below), even
a couple hitherto unnoticed 2017 releases. Should probably write a
longer intro, but not feeling it at the moment.

New records reviewed this week:

Jakob Anderskov: Mysteries (2017 [2018], ILK): Danish
pianist, more than a dozen albums since 2006, this the first I've heard,
a trio with Adam Pultz Melbye (bass) and Anders Vestergaard (drums),
recorded live at The Loft in Köln.
B+(**)

Julian Argüelles: Tonadas (2017 [2018], Edition):
English saxophonist (tenor/soprano), first album 1990, this a quartet --
Ivo Neame (piano), Sam Lasserson (bass), James Maddren (drums) -- draws
on Spanish for its titles (starting with "Tunes"), and doesn't skimp on
the Latin tinge.
B+(**)

Rafiq Bhatia: Breaking English (2018, Anti-): Guitarist,
born in North Carolina, of Indian descent via East Africa, second album,
also plays in the experimental rock band Son Lux, and has side credits
with David Virelles and Heems. Instrumental album, classified experimental,
has some interesting twists and turns.
B+(**)

Carsie Blanton: Buck Up (2019, So Ferocious):
Singer-songwriter from Virginia, ran off at 16 to Oregon, then
decided to turn pro and moved to Philadelphia but wound up in New
Orleans. Never heard of her before, but sixth album since 2005 --
catchy, quotable, clever, sometimes cute, but bucks up when the
going gets tough.
A-

Endangered Blood: Don't Freak Out (2018, Skirl): New
York quartet, originally came together to play in a benefit for Andrew
D'Angelo. Their eponymous first album listed the names in alphabetical
order, so I filed it under drummer Jim Black -- followed by Trevor Dunn
on bass, with two saxophonists -- Chris Speed on tenor and Oscar
Noriega on alto. (D'Angelo recovered, and Speed and Black still play
in a band with him called Human Feel.)
A-

Hot 8 Brass Band: On the Spot (2017, Tru Thoughts):
New Orleans brass band, first album 2005, currently nine strong with
three trumpets, three trombones, tuba (leader Bennie "Big Peter" Pete),
sax, and bass drum. Probably shouldn't bother with only 4/11 tracks
available but hot and funky out of the gate, with little evidence
that they'll ever wear down.
[4/11 cuts, 25:58.]
B+(**) [bc]

Ohmme: Parts (2018, Joyful Noise): Chicago duo, Sima
Cunningham and Macie Stewart, both started as pianists but have come
to prefer guitar for its noise potential, and probably play everything
else (aside from Matt Carroll on drums), as well as sing in and out of
tight harmony.
B+(**)

On the Levee Jazz Band: Swinging New Orleans Jazz
(2018, Big Al): New Orleans trad jazz outfit led by drummer Hal Smith,
logo adds "A Tribute to Kid Ory," takes its name from a club owned by
Ory. Clint Baker is front and center on trombone, Ben Polcer trumpet,
Joe Goldberg clarinet, plus piano-guitar-bass. Fourteen songs, all
"good ol' good 'uns" as Satch liked to say. I'm sure I've heard them
all before, but not better, at least not lately.
A- [bc]

Pilgrims [John Wolf Brennan/Tony Majdalani/Marco Jencarelli]:
Oriental Orbit (2017, Leo): Names on the spine, group name
above them on the cover. Each is credited with many instruments, but
the main categories are piano, percussion, and guitar, with vocals
by Brennan (3 tracks) and Majdalani (6). Expansive jazz on a global
scale.
B+(*)

Chris Potter: Circuits (2019, Edition): Postbop tenor
saxophonist, possibly the most acclaimed of his generation, discography
to my ear is hit and miss but at any time he's capable of ripping off
a jaw-dropping solo. With James Francies (keyboards) and Eric Harland
(drums), plus Linley Marthe (electric bass) on 4/9 tracks. Band does
him no favors here. Sometimes he comes close to salvaging in spite of
them, but they're hard to shake or ignore.
B-

RAM: RAM 7: August 1791 (2018, Willibelle): Haitian
group, more or less, the date a reminder of the start of the revolution
against French rule and slavery. Big groove record, doesn't sustain
much interest.
B

Valee: GOOD Job, You Found Me (2018, GOOD Music, EP):
Chicago rapper Valee Taylor, had a half-dozen mixtapes before getting
a label deal which has thus far only produced this 6-cut, 14:30 EP,
just short verbal stabs riding on minimal beats.
B+(**)

Dur Dur of Somalia: Volume 1, Volume 2, & Previously
Unreleased Tracks (1986-87 [2018], Analog Africa, 2CD):
From Mogadishu, capitol of one of the poorest countries in Africa,
even before George Bush (take your pick, but HW was the first to
send in troops), Osama Bin Laden, and a series of Ethiopian tyrants
eviscerated much of the country. Organ-centric grooves, rocksteady
guitar, several singers.
B+(***)

Orhestre Abass: De Bassari Togo (1972 [2018], Analog
Africa, EP): Group from Togo, a sliver of a country between Ghana and
Benin, although the tapes showed up in Accra, Ghana, and the band
leader, one Malam Issa Abass, is long gone (killed with a grenade in
1993). Organ funk, primal soul jazz. Six tracks, 21:35.
B+(***)

Carsie Blanton: Ain't So Green (2005, self-released):
Debut at age 20, just a cute voice and a whisp of guitar, love songs
because that's what most songs are, but asks some basic questions, like
"what are we earning/what will it cost," elsewhere concluding "'cause
if it don't cost nothing, it ain't for me."
B+(***)

Carsie Blanton: Idiot Heart (2012, self-released):
Third album, opens with a band, but gets quieter after a bit and starts
to fade into the background.
B+(*)

Carsie Blanton: Not Old, Not New (2014, So Ferocious):
Jazz standards album, opens with Ellington then Porter, picks Julia Lee's
"Don't Come Too Soon" for something a bit off-color. I'm not seeing any
credits, but sounds like a standard piano trio with guest spots for sax
and vibes. Only original is the 0:45 title sketch.
B+(**)

Carsie Blanton: So Ferocious (2016, So Ferocious):
Seems like a mixed bag, but a couple songs stand out: "The Animal I
Am," "Fat and Happy."
B+(*)

Andrew D'Angelo Trio: Skadra Degis (2007 [2008], Skirl):
Alto saxophonist, raised in Seattle, moved to New York in 1986, also
worked in Boston with Either/Orchestra, not much under his own name
other than two Trio albums, this the first. With Jim Black (drums)
and Trevor Dunn (bass). Strong group, sometimes a bit harsh but can't
fault the energy.
B+(***) [bc]

Endangered Blood: Work Your Magic (2012 [2013], Skirl):
Second of three albums for this quartet, the two saxophonists (Chris
Speed and Oscar Noriega) switching to clarinet (bass for Noriega) on
occasion.
B+(***)

Kitchen Orchestra/Alexander Von Schlippenbach: Kitchen Orchestra
With Alexander Von Schlippenbach (2013, Whats Cooking): Large
Norwegian group, dates back to 2005, I found them while looking up Dag
Magnus Narvesen (drums) and don't especially recognize anyone else --
16 credits here including the guest conductor/pianist (also composer
and arranger of the closing pieces by Dolphy and Monk). This seems to
be the group's sole album, although their website lists events with
various guests (in 2018: Eve Risser, Marilyn Crispell, Per Zanussi).
B+(*)

Unpacking: Found in the mail last week:

Atomic: Pet Variations (Odin)

Lyn Stanley: London Calling: A Toast to Julie London (A.T. Music)

Carol Sudhalter Quartet: Live at Saint Peter's Church (Alfa Projects)

Assif Tsahar/William Parker/Hamid Drake: In Between the Tumbling a Stillness (Hopscotch) [A-]